Homenews

Keramisch Museum Goedewaagen (Ceramic Museum Goedewaagen), established in 1893 in Nieuw-Buinen, Drenthe, is housed in the former pottery factory of Royal Goedewaagen, a company dating back to 1610. This museum is dedicated to preserving and exhibiting Dutch ceramics, showcasing a vast array of collections that span various eras and styles.

Royal Goedewaagen in Gouda, originally a pipe factory from 1779, expanded throughout the 19th century by acquiring smaller factories. This growth allowed it to evolve into a major ceramic producer with an international footprint. The transition to a modern, technologically advanced factory in 1909 at Jaagpad marked a significant phase, enabling Goedewaagen to blend centuries-old Dutch ceramic traditions from Gouda with new production techniques.

The museum now has a collection of approximately 4,000 pieces of ceramics, ranging from decorative pottery to tableware, from tile to tile tableau to miniature house. The permanent collection consists of around 800 objects, which together tell the story of Dutch pottery production from 1880 onwards. Since 1989 the museum’s foundation does academic research on decorated Dutch ceramic made after this period.

The museum’s collection includes not only Goedewaagen products but next also a collection of Old Dutch majolica from the 1550-1650 period. These pieces provide insights into the artistic expressions of that time, marked by vibrant colors, reflecting the skills of craftsmen and the cultural exchanges of the period.

In the sixteenth century, many potters from Antwerp migrated to the northern Netherlands and established themselves in various cities. By 1600, the city of Haarlem emerged as the leading majolica centre. Multiple inventories show that forty-five potters had settled there and the production of majolica increased proportionally. Although it is impossible to identify and attribute the work of the forty-five potters in Haarlem, there is one exception: the wares of Willem Jansz. Verstraeten, who is considered the most important potter in Haarlem during the second quarter of the seventeenth century.

In addition to majolica, the museum’s collection also features modern ceramics, industrial products, and special exhibitions on decorative tiles and pipes. The museum serves a rich collection. Also, the museum regularly organizes temporary exhibitions and educational programs aimed at spreading knowledge about ceramics and its historical context in the Netherlands.

Focusing on both historical and modern ceramics, the Ceramic Museum Goedewaagen offers an insight into the rich ceramic traditions of the Netherlands.

The Koopmans – de Wet House opened in 1914, which makes it the oldest house museum in Cape Town, South Africa. Before the house became a museum it was occupied by Marie Koopmans – de Wet and her sister, Margaretha. Marie was well-known in her community, as she helped orphans and widows of the Boer republics during the South African war.

Many of the museum treasures were first collected by the original owners of the house. The collection grew significantly after the house became a museum, with many purchases and donations. The house is richly decorated in a style typical of eighteenth century townhouses of well-to-do families. It contains paintings, carpets, mirrors, gold and silver. Houses like The Koopmans – de Wet house also would have contained Chinese and Japanese porcelain, and of course Delftware.

The Dutch East India Company, or the VOC for short (Verenigde Oost Indische Compagnie) quickly built a monopoly over international trade, responsible for the transportation of millions of goods between Europe and Asia during its almost two hundred year existence. The Cape of Good Hope was on the route, so a great variety of goods were brought there, from eastern woods, foods and much more. During the seventeenth century and eighteenth centuries, the VOC ships transported passengers in addition to goods. People traveled to the colonies to visit family and friends, or back to The Netherlands to seek a better education, or to find a suitable lover. Many passengers simply wanted to start a new life in the colonies of the Cape of Good Hope or Batavia. The regular ship traffic informed colonists of current events in their homeland through word of mouth, journals, newspapers and letters.

The Koopmans – de Wet House has a wonderful collection of Delftware among other ceramics that are displayed inside a curiosity cabinet in a richly decorated room. The collection and the unique house are not to be missed. 

In northern England located in the town of Barnard Castle in County Durham the Bowes Museum is to be found. This museum built by Jules Pellechet and John Edward Watson was intended to house the art collection of John Bowes and his wife Joséphine Benoîte Coffin-Chevallier. John and Joséphine both came from wealthy families and had royal blood. Joséphine was the Countess of Montalbo, the Republic of San Marino. The museum opened its door in 1892 after the passing of the couple.

The Bowes Museum is a richly modelled building with large windows and mansard roofs, which was typical for the French Second Empire. Around the museum there are beautiful landscaped gardens with a French feel. Sir Nicholas Pevsner, a German-British art historian considered the building “… big, bold and incongruous, looking exactly like the town hall of a major provincial town in France. In scale it is just as gloriously inappropriate for the town to which it belongs (and to which it gives some international fame) as in style”.

The couple left many beautiful art pieces after their death with approximately 15.000 pieces of European fine and decorative arts. Beautiful paintings can be found of the hand of Anthony van Dyck, Fransisco Goya and more great artists. 

Not to be forgotten the museum contains Delftware. The museum houses two plates by Willem Jansz. Verstraeten made in circan1675. Although it is impossible to identify the work of the 45 potters in Haarlem and to attribute objects to one potter, there is one exception: the wares of Willem Jansz. Verstraeten, who is considered the most important potter in the city of Haarlem during the second quarter of the seventeenth century. He started his career by making Majolica. Later on he introduced important technical innovations, which marked the end of the majolica production. From around 1640 his factory created earthenware, which had a layer of white tin-glaze on the reverse. Together with other innovations (such as the blue and white color pattern), the workshop of Verstraeten was able to compete with the so sought after Chinese porcelain.

In 1642 Verstraeten suffered a stroke and he decided to turn his pottery over to his son Gerrit. Against all odds Willem made a good recovery and set up a new factory in the same year. Father and son both signed a contract in which the production of earthenware was divided between them. The contract was based on the decoration or the material of the earthenware. Some think that father and son agreed that Gerrit would make the new faience inspired on the blue and white Chinese porcelain and the father would focus on the production of old-fashioned majolica. They state that the contract has been based – almost certainly – on the material and not on the decoration, since there was no need to produce earthenware with Chinese decoration before the year 1647 in which imports of Chinese porcelain came to a halt. Hollandts Porceleyn (Dutch porcelain – as the earthenware mistakenly was called) was in fact in the first 25 years faience with a non-Chinese decoration.

Willem Verstraeten tried several times to get out of the contract with his son, he also wanted to make Hollandts porceleyn. What started with a few skirmishes, ended in a whole series of controversial legal cases, involving numerous witness statements by colleagues. The cases were centered around the question what Hollandts porceleyn was exactly. While Willem focussed on the decoration, his son was aiming at the material. According to Willem faience referred to white goods with a small amount of decoration, porcelain on the other hand was faience with full decoration. In contrast to this, Gerrit stated that all better made flatware was called Hollandts porceleyn, irrespective of the decoration. Willem got the top of the Delft ‘Dutch porcelain makers’ to testify in favour of his point of view. Despite the existence of the archives of these court cases, it is still rather difficult to find out if the contract father and son signed was based on the material or on the decoration.

Finally in the autumn of 1650, the ruling of the Court of Holland handed down to the effect that Willem could produce wares with new inventions but not in the manner of porcelain. The last judgment, that of the High Court, is not known; possibly a settlement was reached in the end. This outcome had as result that Willem Verstraeten continued making faience, but at first without the Chinese full decoration, since he had stated in several court cases that the Chinese decoration was the main characteristic of Hollandts porceleyn. Instead of the Chinese decoration he focussed on a more Italian style pattern.

The Montreal Museum of Fine Arts (MMFA) is located in the cultural heart of Canada. Founded in 1860, this museum is not just a landmark but a living chronicle of Montreal’s vibrant artistic journey.

The Art Association of Montreal was the initiative for the MMFA’s inception. The pioneers visualized an institution that would not only house artistic masterpieces but also inspire a profound appreciation for the fine arts within the Canadian populace. Over the years, this vision was achieved as the museum’s collection grew, encapsulating diverse eras, art forms, and global influences.

A walk through the MMFA is akin to a journey across time and space. Its vast halls, meticulously curated, narrate tales of ancient civilizations, Renaissance wonders, contemporary thoughts, and avant-garde explorations. Each artifact, painting, or sculpture stands as a dialogue, an interplay of  an artist’s vision and societal influences of their time.

Beyond its rich collection, the architecture of MMFA itself tells a story. The building has expanded over the decades, combining classical motifs with modern designs, much like its collection. This monumental structure stands as a testament to Montreal’s dedication to preserving, celebrating, and evolving its artistic narrative.

Yet, the museum is not just a passive space of observation. It pulsates with academic vigor. The MMFA serves as a nexus for art education and research. Through workshops, exhibitions, and collaborative events, it fosters a dynamic interaction between art connoisseurs, researchers, students, and the general public. The museum’s commitment to catalyzing cultural discourse, inspiring academic inquiries, and engaging the community makes it a vital hub in North America’s art ecosystem.

A piece that captures the essence of European ceramic craftsmanship in the museum collection is a Delftware plate from the De Klaauw factory. A representation of 18th-century artistry, this plate, marked for Lambertus Sanderus, showcases an exquisite blue and white floral design, with a peacock tail, elegantly juxtaposed with a distinctive yellow rim. While it represents just a fragment of the museum’s extensive collection, this Delftware plate exemplifies MMFA’s dedication to capturing the nuanced tapestry of global art.

The true essence of the MMFA lies in its legacy. Over the span of its existence, the museum has witnessed wars, societal shifts, and technological evolutions. Despite these changes, the MMFA has underscored the importance of art as a reflection of human thought, aspiration, and emotion. It serves as a bridge, connecting generations of Montrealers and global visitors to the myriad expressions of human civilization.

The Montreal Museum of Fine Arts is more than an institution; it is an experience. Through its doors, one does not just witness art; one engages in a conversation that spans centuries. It stands as a testament to Montreal’s deep-rooted love for art, culture, and history, continually reminding us of the beauty and complexity of the human spirit.

The Suntory Museum holds a distinctive place in the vast cultural tapestry of Tokyo. It is recognized not only for its diverse collections but also for its dedication to preserving and showcasing art from various epochs. Established in the late twentieth century, the museum quickly became a pillar in Japan’s art community. Its history is interwoven with the Suntory Group’s commitment to cultural contribution and societal enrichment, which reflects in the museum’s wide-ranging exhibitions and events.

Beyond its distinguished Delftware collection, the museum features an array of art forms that span from traditional Japanese masterpieces to contemporary expressions from around the globe. This extensive repertoire includes sculptures, paintings, multimedia installations, and artifacts that mirror Japan’s evolving artistic landscape while emphasizing the global influences that have shaped it.

The Delftware collection is one of the treasures found within the museum. It serves as a testament to the museum’s commitment to curating global art. Delftware has made its mark in the world of ceramics due to its distinct blue and white designs and the craft’s rich history. The Suntory Museum’s acquisition of such pieces reflects an appreciation for this unique art form and its place in the larger global artistic narrative.

One notable piece in the collection is a figurine of a cat. This isn’t a mere portrayal of an animal but a symbol of the level of craftsmanship that defines Delftware. The figure stands as an embodiment of the tradition’s nuanced details and the intimate connection between artisans and their subjects.

Additionally, the collection includes a kendi. This traditional vessel, with its historical significance and purpose, highlights the range of Delftware pieces. It serves as a representation of the cultural exchanges that enriched the world of ceramics over the centuries.

The collection also boasts a variety of vases and plates. While their specific designs and imageries are diverse, they all resonate with the same theme of impeccable craftsmanship and rich history. Each piece, whether utilitarian or decorative, speaks to the times when they were crafted and the artisans’ dedication to their craft.

The Suntory Museum’s Delftware collection is more than an exhibit; it’s a narrative. It speaks of times past, of artists’ passions, and of a world where artistry transcended borders to find a home in distant lands. For those visiting Tokyo with an interest in understanding global art’s interwoven stories, the Suntory Museum’s Delftware collection offers a subtle yet profound glimpse into this captivating world.

The Ashmolean Museum at the University of Oxford was established in 1683, and is Britain’s first public museum and the world’s first university museum. The collection showcases the breadth of human achievement as well as the intricate links that bind various cultures together.

The museum was established after Elias Ashmole donated his collection to the University of Oxford. Ashmole initially acquired his collection from John Tradescant the Elder and his son, who travelled the world and collected artifacts through the ages. While initially housed next to the Bodleian Library, the burgeoning collection’s demand for space led to its relocation to the grand neo-classical edifice crafted by Charles Cockerell in 1845. The 2009 redevelopment added a touch of modernity, ensuring the Ashmolean remained both historically rich and contemporarily relevant.

Among the museum’s myriad treasures, the European ceramics section holds a special allure, particularly its Delftware pieces. Crafted in the seventeenth and eighteenth centuries, these items showcase the pinnacle of Dutch ceramic artistry, but with a twist that underscores the interconnectedness of cultures.

Of particular note in the collection is a blue and white double gourd vase, decorated with intricate chinoiserie motifs. Chinoiserie, a European style inspired by Asian artistic traditions, became immensely popular during this period. The vase, with its sinuous curves and detailed decor, symbolizes the fusion of European craftsmanship and Eastern aesthetics. Similarly, a Delftware bottle in the collection, adorned with chinoiserie scenes, speaks of the allure the Far East held for European artisans. The myriad plates, with their diverse designs ranging from orangerie to chinoiserie themes, further highlight this artistic exchange.

The Ashmolean is more than a guardian of artifacts; it is an active hub of learning and discovery. As part of Oxford University, it hosts regular lectures, research initiatives, and educational programs.

In summation, the Ashmolean Museum stands as more than a repository. It is a celebration of human creativity and the remarkable ways in which cultures, seemingly distinct, interweave and influence one another. The Delftware pieces, especially the chinoiserie-decorated double gourd vase and bottle, epitomize this intercultural dialogue. Through its collections and initiatives, the Ashmolean invites visitors to not just observe, but to engage in a timeless and borderless conversation of art and history.

The Gruuthusemuseum is located in Bruges, Belgium. The museum houses its collection in the medieval Gruuthuse, this used to be the house of Louis de Gruuthuse. Louis was an important Flemish man and Lord during the 15th century. Lord of Gruuthuse, Prince of Steenhuijs, bibliophile, soldier and nobleman are all titles connected to his name. 

In the 13th century, a wealthy family from Bruges likely won the right to tax gruit and built a building to store it. Gruit is a mixture of herbs used for beer, making it bitter and adding flavour. Nowadays hops is used and replaced gruit.  

Two centuries later, ancestors of Louis changed the building in to a luxury family home, the family also changed their name to Van Gruuthuse (From the Gruit house). The building didn’t stop changing. When Louis was the head of the house he added a wing that connects the house to the Onze-Lieve-Vrouwekerk (Church of Our Lady).

The Gruuthuse is a museum nowadays and has a wide range of objects in its collection. Art from the 15th century up until the 19th century. The museum has both a collection of everyday tools and utensils and the interior of a wealthy family’s home as it was in the late Middle Ages. Ceramics, weapons, musical instruments, bobbin lace, objects made of gold and silver, and furniture are all on display.

Between all these objects a beautiful early 17th century Delft jug is to be found. The Jug is beautifully decorated with birds and flowers in blue and white and has a silver cover made in Bruges. On the cover there is a coat of arms of abbot Campmans and motto “Deo Duce” engraved, this means God is my leader.

A slightly similar jug was in the former Aronson collection, illustrated in Dutch Delftware, Queen Mary’s Splendor, n. 2, p. 8. This jug is attributed to De Porceleyne Schotel (The Porcelain Dish) Factory. These jugs were made between 1630 and 1650. 

In Dutch still life paintings from this period, jugs like these are often depicted. Jan Steen painted ‘Het oestereetstertje’ in c. 1658-60. On this painting a young lady eating oysters is depicted with in the background a blue and white jug, similar to the jug in the Gruuthusemuseum.

The Kröller-Müller Museum, nestled within the serene expanse of National Park De Hoge Veluwe in Otterlo, Gelderland, The Netherlands, is more than just a museum. It’s a testament to the passion and vision of Helene Kröller-Müller. Opening its doors in 1938, the museum rapidly ascended to national prominence, offering a glimpse into the profound aesthetic sensibilities of one of Europe’s pioneering female art collectors.

It was under the tutelage of art critic H.P. Bremmer that Helene Kröller-Müller’s fervor for art was kindled. This newfound passion saw her amass a collection that spanned the spectrum from 17th-century masterpieces to avant-garde works of the late 19th and early 20th centuries. Notable among these are 91 paintings and 185 drawings by the celebrated Vincent van Gogh. Yet, her eclectic tastes didn’t stop there; her collection boasted works from luminaries such as Mondrian, Picasso, and Seurat. In addition, she harbored a particular affection for ceramics, with Greek pieces and Delftware – especially white variants and intricately designed plates – being prominent features.

Understanding the magnitude and significance of their collection, Helene and her husband Anton Kröller embarked on the ambitious project of constructing a museum. They commissioned the esteemed Belgian architect, Henry van de Velde, to craft a building that would befit the grandeur of their collection. Despite their enthusiasm, financial constraints momentarily hindered their dream. But their passion was undeterred. In an effort to share the fruits of their labor with the art-loving community, they showcased their collection in an exhibition in The Hague. As the main museum building was still a work in progress, a provisional home for the artworks was arranged in Otterlo. The vision for the van de Velde-designed museum building, however, was thwarted by the onset of the Second World War, adding a poignant chapter to its rich history.

As the Kröller-Müller Museum continues its illustrious journey, we wish to extend our heartfelt congratulations and best wishes to Mr Benno Tempel in his new role as the director. We are confident that under his leadership, the museum will continue to inspire and captivate art enthusiasts.

The Museum of Fine Arts in Reims, France opened its doors in the city’s town hall in 1794. The foundation of the collection was donated in 1752 by Antoine Ferrand de Monthelon, the founder of the city’s school of drawing. Many other artworks in the museum were among those seized during the French Revolution in 1789. The museum’s first curator was Nicolas Bergeat, who guarded works of art annexed from the Catholic institutions in Reims.

Over the years the collection grew and the town hall of Reims could no longer house all of the artworks. In 1908 the city purchased the former Abbey of Saint-Denis to house a portion of the collection. The abbey was first constructed during the 9th century under the direction of the Archbishop of Reims. The building served many other purposes before it was transformed into a museum, such as the French Directory’s headquarters, barracks for Russian occupation troops in 1814 and 1815, and a grand seminary in 1822.

The Museum of Fine Arts has a vast collection of artworks that span five centuries of European and French art, from the Renaissance through the Art Deco, the Grand Siècle of the seventeenth century and Impressionism. There are over one hundred ceramic objects on display, including a considerable number of Delft earthenware. The wide variety of Delftware cannot be missed, from vases, dishes, plaques and jugs. 

One outstanding feature of the collection is a ‘Persian Blue’ Jug marked De Paauw (The Peacock) Factory. De Paauw (The Peacock) Factory is most renowned for its blue glazes. A beautiful example, already mentioned in an earlier newsletter, is a spice bowl with a blue glaze and white decoration. This unusual group of Delftware with blue grounds was inspired by the blue and yellow ground ceramics from Nevers, France. Between 1660-1680, faience makers in Nevers produced wares with either an opaque yellow or blue glaze, covered with delicate lace-like decorations. Of course, this is the reason these beautiful blue earthenware pieces are also called ‘Nevers bleu’.

Groot Constantia is a homestead and Wine Museum in Cape Town, South Africa that dates back to 1685. It was one of the first commercial wine farms in South Africa. Today, the house and museum chronicle the past to present including the legacy of slavery. There is a particular focus on the eighteenth to early nineteenth century period when affluent farmers tended the land. From 1778 to 1885, the Cloet family owned the farm.

The wine museum shows the historical wine cellars and exhibits wine storage and drinking vessels from antiquity to the twentieth century. The Cloetes utilized the cellars below the house as a place to store high-quality wine bottles, vegetables, and fruit. Slaves and later house staff occupied the rooms with windows as places to live and work.

The homestead offers a glimpse into the life of an effective Cape farmer from the eighteenth to the late nineteenth century with its exhibition of furniture, paintings, textiles, pottery, brass, and copper ware. The homestead is made up of many rooms. After entering the entrance hall you quickly reach the study room, where men congregated to socialize and smoke pipes. The furniture is Neo-Classical or Louis XVI style, and the items in the room range in period from the early eighteenth century to the early nineteenth century. The room contains writing desks, writing furniture and Chinese and Delft-made earthenware. 

The homestead also exhibits Dutch heritage in the kitchen, where a typical Frisian tall clock is displayed. This clock was made during the eighteenth and nineteenth century in Friesland. 

Edam is a small city North of Amsterdam, famous for the small round cheeses bearing the name of the city. The town was founded around a dam crossing the river E or IJe near the Zuiderzee (currently known as the IJsselmeer). Around 1230 the channel was dammed, and goods had to be transferred from vessel to vessel. The inhabitants of Edam levied a toll, which enabled Edam to grow economically. Edam acquired city rights in 1357 by Count Willem V. A new harbor was established, which connected it to other major Dutch cities as well as international trade.

Fishing, timber trade and shipbuilding became interesting and flourishing businesses for the coastal city of Edam. By the sixteenth century there were as many as 33 wharves in Edam, a very high number compared to the relative small size of the city. The local economy was further boosted by a market held three times a year. In fact, Edam was one of the more important towns of North Holland, vying with chambers of the VOC (Verenigde Oost Indische Compagnie) in Enkhuizen, Hoorn and Amsterdam. However, the shipbuilding industry declined at the end of the seventeenth century when Emperor Charles V built lock gates to protect the city from flooding. The gates caused the harbor to be bogged down, and it was eventually closed. The shipbuilding and timber trade then moved to Amsterdam and the Zaan region in the second half of the seventeenth century. With the reclaimed land in Edam, the city transformed itself into a thriving regional center for the cattle trade and its famous cheese. After the middle of the eighteenth century, the economy of Edam stagnated. This was reinforced by the construction of the Noord-Hollands Kanaal (1824), which meant that ships no longer passed through the city.

There are many treasures from the golden age of Edam, many of which are preserved and displayed in the Edam museum. The museum is one of the oldest institutions in North Holland, and it is housed in a beautiful late Gothic-style merchant’s house. The structure, built between 1540-1550, is the oldest brick-built house in Edam. In 1893, the Edam city council purchased the building and it subsequently underwent an extensive restoration overseen by Pierre Cuypers (original architect of the Rijksmuseum) and Victor de Stuers. The museum opened in 1895 and it continues to operate today. A second location is housed on the first floor of Edam’s old town hall, dating from 1737. The building was renovated in the seventeenth century and furnished with a luxurious new interior, which has largely been unchanged since. This space, including the historic Mayor’s Chamber, is the setting for regular short term exhibitions.

The floating cellar is a famous feature of Edam Museum. The cellar is a loose container that floats on the groundwater. Due to tidal movements of the sea, (the museum is located on Dam Square, the location of what used to be a (sea) lock) the Zuiderzee influences the groundwater level. Because the basement moves with the water, it never floods. Floating cellars are not unique; many are found in Edam and especially in Amsterdam. However, the floating cellar in Edam Museum is the only one in the Netherlands that is publicly accessible.

A significant part of the museum collection was acquired by Herman Beek, the so called ‘Artbaker’, as he was a baker and antique dealer in Edam. According to legend, he amassed his collection, among other things, by having his customers pay with antiques for the bread he sold. A great deal of his collection was either sold or donated to the Edam Museum by the Van Beek family.

The collection contains a wide range of objects related to the history of Edam and beyond, including a group of Delftware objects. One interesting piece is a Delft dish made in the second half of the eighteenth century, which the museum acquired from Aronson Antiquairs. The imagery on the dish is very much related to the significance of Edam as a ‘Cheese city.’ The dish is painted in the center with a cheesemonger wearing a large hat, standing behind his counter and slicing a large wheel of cheese with a large knife. Above his head are eight cheeses on a shelf suspending a scale, and a smaller shelf of two cheeses above four wooden barrels to his right. The front of the counter is inscribed “Maggiel Wiegers Visser”, and the rim with a border of floral lappets alternating with large demi-blossoms and foliate scrolls, the footrim of each pierced with a hole for suspension. The plate bears no mark, which was very common for special orders like the present dish.

According to archival material, Maggiel Wiegers Visser was born in 1768 in Woudsend, Friesland. Unlike his male family members, he wasn’t involved in eel trade, or eel trade related business, but he started a dairy trade, selling butter, milk and cheese in his shop in Woudsend. After his marriage in 1790, he continued his business in Grouw. The plate was probably ordered in Delft as a promotional or commemorative gift, by Maggiel himself or someone else.

There are four similar plates known: one in ‘Het Scheepvaart Museum’ in Sneek, one in ‘Het Openlucht Museum’, Arnhem, Wadsworth Atheneum Museum of Art in Hartford and one in a private collection in The Netherlands.

The Freer Gallery of Art is located in Washington DC. This museum is a part of the Smithsonian Institution together with the Arthur M. Sackler Gallery. 

The Gallery was founded by Charles Lang Freer, a railcar manufacturer and a self-taught art connoisseur. Freer had a large collection of Asian and American art, which he donated to the nation. He discussed this gift informally with President Theodore Roosevelt a year earlier. In addition to the art objects, the donation also included funding for a building, and for the study and acquisition of Eastern, Egyptian and Near Eastern visual arts.

Freer imposed a number of conditions on his donation. He believed that the museum should be easily accessible to scientists at all times. Freer also stipulated in the bequest that he would exercise full curatorial control over the collection until his death. The Smithsonian was initially hesitant about the requirements, but Roosevelt’s intervention allowed the project to go ahead. However, Freer died before the construction and establishment of the museum was completed.

In 1923, the Freer Gallery of Art was opened to the public. It was the first Smithsonian museum that was based on a bequest from a private collection.

Various objects are on display in the museum, including Chinese paintings and ceramics, Korean pottery, Japanese byōbu, Indian and Persian manuscripts, and Buddhist sculpture. The collection also features a number of Delft earthenware fragments, which show the history of Delftware.